Results for Transmissions from the Satellite Heart

interviews

696The Flaming Lips

This week's guests are two of the members of Oklahoma's Flaming Lips, co-founder Wayne Coyne and long-time member, multi instrumentalist and co-songwriter Steve Drozd. Wayne chimes in that their two other current band members, Michael Ivins and touring drummer Clifford, couldn‘t make it to the interview. Ivins was too preoccupied erecting the UFO for that night’s live gig in Chicago. Greg points out that Wayne at one time admitted he was part of a band that couldn‘t play, had a singer that couldn’t sing, and heralded from an unknown town. Yet, here they are 25 years later, still going strong. As someone who wrote a book about The Flaming Lips. Jim continues to be astounded by the extensiveness of their career. He feels it parallels the career of Pink Floyd who had at least four different incarnations over 30 or 40 years. The Lips' first era was their '80spsychedelic era with it's key album In a Priest Driven Ambulance from 1990. On this album, former Lips drummer Jonathan Donahue replaced Nathan Roberts and the band collaborated for the first time with producer Dave Fridmann. Fridmann, who would go on produce many other Lips‘ albums, brought a higher level of musicality and production to the Lips’ sound. In a Priest Driven Ambulance was also the album that introduced Steve Drozd to the Flaming Lips (he did not join the band until almost a decade into the band's career). Drozd loved the album's“loud psychedelic rock guitar”with "hokum balladry". Greg also adds that the record contained a non-ironic cover of Louis Armstrong's "It's a Wonderful World" amidst the cynical and cooler-than-thou indie rock community.

Even though the band started in 1983, it wasn't until 1992 that The Flaming Lips signed to a major label. The first album for Warner Brothers Records was Hit to Death in the Future Head. Wayne and the band saw this as an opportunity to make a record that's worth the“billion dollars”major labels can spend on albums. Greg feels that their new ambition really exceeded the ambition they had with their previous work. He feels it's clearly evident in 1993's Transmissions from the Satellite Heart. To Jim this album marks the moment when Wayne's songwriting started to rise from the background and move towards the caliber of the Lips' sonic density. Transmission from the Satellite Heart's, "She Don't Use Jelly" is such an example. Even though the song became their breakthrough“wiggy, novelty hit.”it was a "beautiful bubble gum song with a poignant lyric" wrapped inside an amazing musical production. Wayne and the band knew almost from the beginning that the song could be a hit. The song's hook was created from the lyrics which Wayne got from equating smearing chapstick on your lips to buttering your toast. Wayne's story dispels the rock critic myth that these lyrics were a code for sex, drugs and rock ‘n’ roll. Greg brings everyone back to the dense sound of Transmissions From the Satellite Heart. He wonders how Steven came upon the idea layering the heavy“Bonham-esque”drums underneath pop songs. Steven admits that the sound was inspired by Larry Mullen's drums on U2's War.

Greg wonders if the band's next transformation happened after guitarist Ronald Jones left the band in 1996. Wayne agrees that Ronald's leaving changed the band. Although, Steve adds that he himself was burnt out and heavily into drugs at the time. At this point the Lips re-tooled into the era of their parking lot experiments, boom box experiments and the 1997 release of the four-CD album Zaireeka — an album designed for the listener play all four CD's simultaneously on four different sound systems in the same room. Each project was an orchestration of random sounds, a symphony of noise. Wayne wanted to try something new and take a chance.

After the band went through their two year sonic experiment they released the album The Soft Bulletin in 1999, which Jim considers a pop masterpiece. Wayne thinks the signature song from that album is "Race For the Prize". The song is in reference to two scientists fighting to cure a disease. Also on the album is "Waitin' for a Superman," inspired by Wayne and his brother jogging around the lake to deal with their father's bout with cancer. These two songs are full of meaningful and heartstung lyrics. Jim pipes in that that Wayne wouldn‘t have been able to write lyrics like this earlier in the Lip’s career. Wayne chalks it up to the experience of life changing you, which changed him and the band for the better.

2002's Yoshimi Battles the Pink Robots is a continuation of the band's lyrical progression, especially with its song "Do You Realize??" Another key song is "Yoshimi Battles the Pink Robots Pt. 1." (You can hear their live performance here.)

The critical response to these last two albums was, as Jim puts it,“nothing short of ecstatic.”The latest album, 2006's At War With the Mystics hasn‘t seen the same response (including from our own Greg Kot.) Steve and Wayne kind of expected it. They’re just as happy to win a Grammy for a song titled, "The Wizard Turns On…The Giant Silver Flashlight And Puts On His Werewolf Moccasins."

reviews

2628Flaming Lips At War With the Mystics

Next up is a review of the new Flaming Lips album At War With the Mystics. The Oklahoma band has been around for almost 25 years, and this is their 12th album. The Lips' first big breakthrough came in 1993 with Transmissions from the Satellite Heart. That album was lauded by Jim and Greg at the time, and the single "She Don't Use Jelly" was one of the big alternative hits of the year. Then, in 1999, the band released The Soft Bulletin, which became a huge critical success, and in 2002, the band finally got some commercial recognition with their first Gold album Yoshimi Battles the Pink Robots. After listening to one of the new songs, "Pompeii am Gotterdammerung" (which gives multi-instrumentalist and musical wizard Steven Drozd his first stab at vocals), Greg gives his review of the album. Jim refrains from offering his review because he feels he is too close to the work. Mr. DeRogatis just released his 5th book, Staring at Sound: The True Story of Oklahoma's Fabulous Flaming Lips, and the journalist in him can‘t give a rating of the record. However, listeners can certainly surmise his opinions after listening to our hosts’ discussion. Greg admits off the bat that he is not blown away. He feels like the band tried to out-gimmick itself, providing the song "Yeah Yeah Yeah" as an example. Greg admits that the songs translate better live, and Jim predicts that come this summer, when the Flaming Lips perform at Lollapalooza, Greg will have to eat his Burn It. We'll just have to wait and see.

548The Flaming Lips Oczy Mlody

The fourteenth studio album by The Flaming Lips is titled Oczy Mlody, a Polish phrase meaning“the eyes of the young.”Jim says its a sleepy album, filled with electronic glitchiness and Miley Cyrus cameos, but lacking the tunefulness that once made them a great band. According to Jim, the Lips have spent the last decade churning out product without really spending time crafting their records in the studio. Greg agrees that the songwriting has fallen off on Oczy Mlody. They both give the album a Try It rating, saying it's nowhere in league with the band's best. Jim, as the author of The Flaming Lips' biography, recommends that listeners who have only heard the last decade of Flaming Lips music check out their back catalog, pointing to early masterpieces like 1990's In a Priest Driven Ambulance and Transmissions from the Satellite Heart from 1993.